1. Blue Monk
2. Route 66
3. Black Orpheus
4. Cantaloupe Island
5. Satin Doll
7. Pink Panther
1. Summer Rain
2. Horse With No Name
3. Girl from Ipanema
4. Comin' Home Baby
6. Every Day I Have the Blues
1. Chittlins Con Carne
5. Rikki Don't Lose That Number
6. Stormy Monday
1. Brown Eyed Girl
2. Mr. Magic
3. Evil Ways
4. On and On
5. Wonderful Tonight
7. Your Mama Don't Dance
8. Kevin piano honkeytonk thing
9. Ain't No Sunshine When She's Gone
Cast of characters:
Kevin B. Selby - Keyboards, Bass/Drum programming, Vocals, Guitar
Lee Ford - Guitars, Vocals
Greg Miner - Sax (soprano, alto, tenor), Flute
Why is it that I always have to learn SOMETHING on every single gig? Why can't a single gig go by where everything absolutely goes RIGHT? Why?
Soooo...we got the bright idea to bring a slightly bigger PA, so I brought "the rack" which has my Behringer Xenyx 2442FX mixer, some amps, and my Behringer 12" mains and I fully separated the Front-Of-House (FOH) mix from the R16 mix (which is what the musicians monitored with). Well...you should ALWAYS ALWAYS ALWAYS have SOME way of monitoring what "the people" are hearing. In this case, by the THIRD set, I finally had routed a stereo feed off the Xenyx into the Behringer headphone amp and I could easily switch between what the R16 was "hearing" and what the Xenyx was "hearing" (and thus sending out to FOH). Never mind that during Set 2, the audience repeatedly asked for my vocals and my keyboards to come up in the FOH mix. Seriously people...you should never make your audience help you correct your mix.
Now...many of you musicians can probably identify with this: when you, the musician, are so "fiddly" with the gear, it interrupts your performance and actually hurts it a little. Thus, the first two sets are definitely not as good, tight, and energetic as they could have been. Sets 3 and 4 are pretty good though, so I'm happy we (mostly "I") got it all figured out.
I'm selling off most of my big PA and going with separate individual Behringer keyboard amps and between two of those and my Hartke keyboard amp, that will be my "PA". It's plenty "good enough" for the venues and type of music that we play and it will keep the overall mix "simple" (simple is good!).
Okay...all the technical junk behind us, there were some excellent versions of Cantaloupe Island, Every Day I Have the Blues, Caravan (listen to that Sitar and Fiddle! Yee haw!), Rikki, and Mr. Magic was pretty high energy.
Until next time,
Kevin B. Selby
LineageSBD (Behringer Xenyx 2442FX) > Zoom R16 > .wav > Sonar Home Studio 6 > .wav stereo final mix > CD Wave > .flac
November 15, 2010 Subject:
Ok, so first of all, let me say I find this recording to be great fun - and I'm not always a huge fan of covers, but I like it when someone covers ea tune with just enough of a twist to put a particular accent on it. That's what you have here, and it makes the show, in my opinion, very listenable.
Despite what was written in the notes (by the one who posted this show) as to the trials and tribulations of the evening...these are some really good covers. Cantaloupe Island has long been a favorite Hancock tune of mine, and one that doesn't get its due, but this version is very nicely phrased.
In general you can 'feel' that these cats are pretty used to playing together as the overall result is really quote cohesive and 'tight' overall. It's a cool mix, because you definitely get the live vibe (from the performance proper), but also from the ambient 'verb you hear creeping into the mix here and there.
The mix is nice - it has good mono (center) content yet also has some clever panning of the various instruments, so it's likely to sound nice whether you're streaming it through a computer / media player and speakers, headphones, or you're streaming it from your mp3 player in your car audio system. Very nice dynamics, nary a hint of distortion...all in all, exceptionally clean.
The bottom end (the low frequency content) is very well placed and has nice presence and authority and yet does not walk over other elements of the mix; drum mix is nice and rounded with nice presence but no mid-bass boom or nidrange 'honk'. Guitars sound sweet as do the keys.
Back to my comment about the bottom end...I have heard this type of thing happen too many times - sometimes borne of a strange vision as to how the mix should sound and other times due to a lack of direction / understanding. However, in this case, neither of those are issues; it's nice to hear a mix wherein the Engineer focused on achieving great frequency response and fidelity, but had the presence of mind not to have one or more instruments walk all over the rest. All in all, the performance proper, as well as the engineering is very musical. Well done indeed.